The Project Gutenberg EBook of Over the Brazier, by Robert Graves
This eBook is for the use of anyone anywhere in the United States and most
other parts of the world at no cost and with almost no restrictions
whatsoever. You may copy it, give it away or re-use it under the terms of
the Project Gutenberg License included with this eBook or online at
www.gutenberg.org. If you are not located in the United States, you'll have
to check the laws of the country where you are located before using this ebook.
Title: Over the Brazier
Author: Robert Graves
Release Date: October 18, 2014 [EBook #47144]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK OVER THE BRAZIER ***
Produced by MWS and the Online Distributed Proofreading
Team at http://www.pgdp.net (This file was produced from
images generously made available by The Internet
Archive/American Libraries.)
OVER THE BRAZIER
BY ROBERT GRAVES
LONDON -- THE POETRY
BOOKSHOP, 35 DEVONSHIRE
ST., THEOBALDS RD. W.C.1
_Poetry by the Same Author_
FAIRIES AND FUSILIERS
(William Heinemann 1917)
COUNTRY SENTIMENT
(Martin Secker: 1920)
First Printed 1916
Second Impression 1917
Reprinted 1920
FOREWORD TO NEW EDITION
When these poems, written between the ages of fourteen and twenty,
first appeared, I was serving in France and had no leisure for getting
the final proofs altogether as I wanted them. The same year, but too
late, I decided on several alterations in the text, including the
suppression of two small poems inexcusable even as early work. These
amendations appear in this new edition, but I have left the bulk of the
book as it stood.
+Robert Graves.+
Harlech,
North Wales.
THE POET IN THE NURSERY
The youngest poet down the shelves was fumbling
In a dim library, just behind the chair
From which the ancient poet was mum-mumbling
A song about some Lovers at a Fair,
Pulling his long white beard and gently grumbling
That rhymes were beastly things and never there.
And as I groped, the whole time I was thinking
About the tragic poem I'd been writing--
An old man's life of beer and whisky drinking,
His years of kidnapping and wicked fighting;
And how at last, into a fever sinking,
Remorsefully he died, his bedclothes biting.
But suddenly I saw the bright green cover
Of a thin pretty book right down below;
I snatched it up and turned the pages over,
To find it full of poetry, and so
Put it down my neck with quick hands like a lover
And turned to watch if the old man saw it go.
The book was full of funny muddling mazes
Each rounded off into a lovely song,
And most extraordinary and monstrous phrases
Knotted with rhymes like a slave-driver's thong,
And metre twisting like a chain of daisies
With great big splendid words a sentence long.
I took the book to bed with me and gloated,
Learning the lines that seemed to sound most grand,
So soon the pretty emerald green was coated
With jam and greasy marks from my hot hand,
While round the nursery for long months there floated
Wonderful words no one could understand.
PART I.--Poems Mostly Written at Charterhouse--1910-1914
STAR-TALK
"Are you awake, Gemelli,
This frosty night?"
"We'll be awake till reveillé,
Which is Sunrise," say the Gemelli,
"It's no good trying to go to sleep:
If there's wine to be got we'll drink it deep,
But sleep is gone to to-night,
But sleep is gone for to-night."
"Are you cold too, poor Pleiads,
This frosty night?"
"Yes, and so are the Hyads:
See us cuddle and hug," say the Pleiads,
"All six in a ring: it keeps us warm:
We huddle together like birds in a storm:
It's bitter weather to-night,
It's bitter weather to-night."
"What do you hunt, Orion,
This starry night?"
"The Ram, the Bull and the Lion,
And the Great Bear," says Orion,
"With my starry quiver and beautiful belt
I am trying to find a good thick pelt
To warm my shoulders to-night,
To warm my shoulders to-night."
"Did you hear that, Great She-bear,
This frosty night?"
"Yes, he's talking of stripping _me_ bare
Of my own big fur," says the She-bear,
"I'm afraid of the man and his terrible arrow:
The thought of it chills my bones to the marrow,
And the frost so cruel to-night!
And the frost so cruel to-night!"
"How is your trade, Aquarius,
This frosty night?"
"Complaints is many and various
And my feet are cold," says Aquarius,
"There's Venus objects to Dolphin-scales,
And Mars to Crab-spawn found in my pails,
And the pump has frozen to-night,
And the pump has frozen to-night."
THE DYING KNIGHT AND THE FAUNS
Through the dreams of yesternight
My blood brother great in fight
I saw lying, slowly dying
Where the weary woods were sighing
With the rustle of the birches,
With the quiver of the larches....
Woodland fauns with hairy haunches
Grin in wonder through the branches
Woodland fauns that know no fear.
Wondering, they wander near
Munching mushrooms red as coral,
Bunches, too, of rue and sorrel;
Wonder at his radiant fairness,
At his dinted, shattered harness,
With uncouth and bestial sounds,
Knowing nought of war or wounds:
But the crimson life-blood oozes
And make roses of the daisies,
Persian carpets of the mosses--
Softly now his spirit passes
As the bee forsakes the lily,
As the berry leaves the holly;
But the fauns still think him living,
And with bay leaves they are weaving
Crowns to deck him. Well they may!
He was worthy of the Bay.
WILLAREE
On the rough mountain wind
That blows so free
Rides a little storm-sprite
Whose name is Willaree.
The fleecy cloudlets are not his,
No shepherd is he,
For he drives the shaggy thunderclouds
Over land and sea.
His home is on the mountain-top
Where I love to be,
Amid grey rocks and brambles
And the red rowan-tree.
He whistles down the chimney,
He whistles to me,
And I send greeting back to him
Whistling cheerily.
The great elms are battling,
Waves are on the sea,
Loud roars the mountain-wind--
God rest you, Willaree!
THE FACE OF THE HEAVENS
Little winds in a hurry,
Great winds over the sky,
Clouds sleek or furry,
Storms that rage and die,
The whole cycle of weather
From calm to hurricane
Of four gales wroth together,
Thunder, lightning, rain,
The burning sun, snowing,
Hailstones pattering down,
Blue skies and red skies showing,
Skies with a black frown,
By these signs and wonders
You may tell God's mood:
He shines, rains, thunders,
But all His works are good.
JOLLY YELLOW MOON
Oh, now has faded from the West
A sunset red as wine,
And beast and bird are hushed to rest
When the jolly yellow moon doth shine.
Come comrades, roam we round the mead
Where couch the sleeping kine;
The breath of night blows soft indeed,
And the jolly yellow moon doth shine.
And step we slowly, friend with friend,
Let arm with arm entwine.
And voice with voice together blend,
For the jolly yellow moon doth shine.
Whether we loudly sing or soft,
The tune goes wondrous fine;
Our chorus sure will float aloft
Where the jolly yellow moon doth shine.
YOUTH AND FOLLY
("_Life is a very awful thing! You young fellows are too busy being
jolly to realize the folly of your lives._"
--_A Charterhouse Sermon_)
In Chapel often when I bawl
The hymns, to show I'm musical,
With bright eye and cheery voice
Bidding Christian folk rejoice,
Shame be it said, I've not a thought
Of the One Being whom I ought
To worship: with unwitting roar
Other godheads I adore.
I celebrate the Gods of Mirth
And Love and Youth and Springing Earth,
Bacchus, beautiful, divine,
Gulping down his heady wine,
Dear Pan piping in his hollow,
Fiery-headed King Apollo
And rugged Atlas all aloof
Holding up the purple roof.
I have often felt and sung,
"It's a good thing to be young:
Though the preacher says it's folly,
Is it foolish to be jolly?"
I have often prayed in fear,
"Let me never grow austere;
Let me never think, I pray,
Too much about Judgment Day;
Never, never feel in Spring,
'Life's a very awful thing!'"
Then I realize and start
And curse my arrogant young heart,
Bind it over to confess
Its horrible ungodliness,
Set myself penances, and sigh
That I was born in sin, and try
To find the whole world vanity.
GHOST MUSIC
Gloomy and bare the organ-loft,
Bent-backed and blind the organist.
From rafters looming shadowy,
From the pipes' tuneful company,
Drifted together drowsily,
Innumerable, formless, dim,
The ghosts of long-dead melodies,
Of anthems, stately, thunderous,
Of Kyries shrill and tremulous:
In melancholy drowsy-sweet
They huddled there in harmony,
Like bats at noontide rafter-hung.
FREE VERSE
I now delight,
In spite
Of the might
And the right
Of classic tradition,
In writing
And reciting
Straight ahead,
Without let or omission,
Just any little rhyme
In any little time
That runs in my head:
Because, I've said,
My rhymes no longer shall stand arrayed
Like Prussian soldiers on parade
That march,
Stiff as starch,
Foot to foot,
Boot to boot,
Blade to blade,
Button to button,
Cheeks and chops and chins like mutton.
No! No!
My rhymes must go
Turn 'ee, twist 'ee,
Twinkling, frosty,
Will-o'-the-wisp-like, misty,
Rhymes I will make
Like Keats and Blake
And Christina Rossetti,
With run and ripple and shake.
How petty
To take
A merry little rhyme
In a jolly little time
And poke it,
And choke it,
Change it, arrange it,
Straight-lace it, deface it,
Pleat it with pleats,
Sheet it with sheets
Of empty conceits,
And chop and chew,
And hack and hew,
And weld it into a uniform stanza,
And evolve a neat,
Complacent, complete,
Academic extravaganza!
IN THE WILDERNESS
Christ of his gentleness
Thirsting and hungering
Walked in the wilderness;
Soft words of grace He spoke
Unto lost desert-folk
That listened wondering.
He heard the bitterns call
From ruined palace-wall,
Answered them brotherly.
He held communion
With the she-pelican
Of lonely piety.
Basilisk, cockatrice,
Flocked to His homilies,
With mail of dread device,
With monstrous barbéd stings,
With eager dragon-eyes;
Great rats on leather wings
And poor blind broken things,
Foul in their miseries.
And ever with Him went,
Of all His wanderings
Comrade, with ragged coat,
Gaunt ribs--poor innocent--
Bleeding foot, burning throat,
The guileless old scape-goat;
For forty nights and days
Followed in Jesus' ways,
Sure guard behind Him kept,
Tears like a lover wept.
OH, AND OH!
Oh, and oh!
The world's a muddle,
The clouds are untidy,
Moon lopsidey,
Shining in a puddle.
Down dirty streets in stench and smoke
The pale townsfolk
Crawl and kiss and cuddle,
In doorways hug and huddle;
Loutish he
And sluttish she
In loathsome love together press
And unbelievable ugliness.
These spiders spin a loathly woof!
I walk aloof,
Head burning and heart snarling,
Tread feverish quick;
My love is sick;
Far away lives my darling.
CHERRY-TIME
Cherries of the night are riper
Than the cherries pluckt at noon:
Gather to your fairy piper
When he pipes his magic tune:
Merry, merry,
Take a cherry,
Mine are sounder,
Mine are rounder,
Mine are sweeter
For the eater
Under the moon.
And you'll be fairies soon.
In the cherry pluckt at night,
With the dew of summer swelling,
There's a juice of pure delight,
Cool, dark, sweet, divinely smelling.
Merry, merry,
Take a cherry,
Mine are sounder,
Mine are rounder,
Mine are sweeter
For the eater
In the moonlight.
And you'll be fairies quite.
When I sound the fairy call,
Gather here in silent meeting,
Chin to knee on the orchard wall,
Cooled with dew and cherries eating.
Merry, merry,
Take a cherry,
Mine are sounder,
Mine are rounder,
Mine are sweeter
For the eater
When the dews fall.
And you'll be fairies all.
PART II.--Poems Written Before La Bassée--1915
THE SHADOW OF DEATH
Here's an end to my art!
I must die and I know it,
With battle murder at my heart--
Sad death for a poet!
Oh my songs never sung,
And my plays to darkness blown!
I am still so young, so young,
And life was my own.
Some bad fairy stole
The baby I nursed:
Was this my pretty little soul,
This changeling accursed?
To fight and kill is wrong--
To stay at home wronger:
Oh soul, little play and song,
I may father no longer!
Here's an end to my art!
I must die and I know it,
With battle murder at my heart--
Sad death for a poet!
THE MORNING BEFORE THE BATTLE
To-day, the fight: my end is very soon,
And sealed the warrant limiting my hours:
I knew it walking yesterday at noon
Down a deserted garden full of flowers.
... Carelessly sang, pinned roses on my breast,
Reached for a cherry-bunch--and then, then, Death
Blew through the garden from the North and East
And blighted every beauty with chill breath.
I looked, and ah, my wraith before me stood,
His head all battered in by violent blows:
The fruit between my lips to clotted blood
Was transubstantiate, and the pale rose
Smelt sickly, till it seemed through a swift tear-flood
That dead men blossomed in the garden-close.
LIMBO
After a week spent under raining skies,
In horror, mud and sleeplessness, a week
Of bursting shells, of blood and hideous cries
And the ever-watchful sniper: where the reek
Of death offends the living ... but poor dead
Can't sleep, must lie awake with the horrid sound
That roars and whirs and rattles overhead
All day, all night, and jars and tears the ground;
When rats run, big as kittens: to and fro
They dart, and scuffle with their horrid fare,
And then one night relief comes, and we go
Miles back into the sunny cornland where
Babies like tickling, and where tall white horses
Draw the plough leisurely in quiet courses.
THE TRENCHES
(_Heard in the Ranks_)
Scratches in the dirt?
No, that sounds much too nice.
Oh, far too nice.
Seams, rather, of a Greyback Shirt,
And we're the little lice
Wriggling about in them a week or two,
Till one day, suddenly, from the blue
Something bloody and big will come
Like--watch this fingernail and thumb!--
Squash! and he needs no twice.
(+Nursery Memories+)
I.--THE FIRST FUNERAL
(_The first corpse I saw was on the German wires, and couldn't be
buried_)
The whole field was so smelly;
We smelt the poor dog first:
His horrid swollen belly
Looked just like going burst.
His fur was most untidy;
He hadn't any eyes.
It happened on Good Friday
And there was lots of flies.
And then I felt the coldest
I'd ever felt, and sick,
But Rose, 'cause she's the oldest,
Dared poke him with her stick.
He felt quite soft and horrid:
The flies buzzed round his head
And settled on his forehead:
Rose whispered: "That dog's dead.
"You bury all dead people,
When they're quite really dead,
Round churches with a steeple:
Let's bury this," Rose said.
"And let's put mint all round it
To hide the nasty smell."
I went to look and found it--
Lots, growing near the well.
We poked him through the clover
Into a hole, and then
We threw brown earth right over
And said: "Poor dog, Amen!"
(+Nursery Memories+)
II.--THE ADVENTURE
(_Suggested by the claim of a machine-gun team to have annihilated an
enemy wire party: no bodies were found however_)
To-day I killed a tiger near my shack
Among the trees: at least, it must have been,
Because his hide was yellow, striped with black,
And his eyes were green.
I crept up close and slung a pointed stone
With all my might: I must have hit his head,
For there he died without a twitch or groan,
And he lay there dead.
I expect that he'd escaped from a Wild Beast Show
By pulling down his cage with an angry tear;
He'd killed and wounded all the people--so
He was hiding there.
I brought my brother up as quick's I could
But there was nothing left when he did come:
The tiger's mate was watching in the wood
And she'd dragged him home.
But, anyhow, I killed him by the shack,
'Cause--listen!--when we hunted in the wood
My brother found my pointed stone all black
With the clotted blood.
(+Nursery Memories+)
III.--I HATE THE MOON
(_After a moonlight patrol near the Brickstacks_)
I hate the Moon, though it makes most people glad,
And they giggle and talk of silvery beams--you know!
But _she_ says the look of the Moon drives people mad,
And that's the thing that always frightens me so.
I hate it worst when it's cruel and round and bright,
And you can't make out the marks on its stupid face,
Except when you shut your eyelashes, and all night
The sky looks green, and the world's a horrible place.
I like the stars, and especially the Big Bear
And the W star, and one like a diamond ring,
But I _hate_ the Moon and its horrible stony stare,
And I know one day it'll do me some dreadful thing.
BIG WORDS
"I've whined of coming death, but now, no more!
It's weak and most ungracious. For, say I,
Though still a boy if years are counted, why!
I've lived those years from roof to cellar-floor,
And feel, like grey-beards touching their fourscore,
Ready, so soon as the need comes, to die:
And I'm satisfied.
For winning confidence in those quiet days
Of peace, poised sickly on the precipice side
Of Lliwedd crag by Snowdon, and in war
Finding it firmlier with me than before;
Winning a faith in the wisdom of God's ways
That once I lost, finding it justified
Even in this chaos; winning love that stays
And warms the heart like wine at Easter-tide;
Having earlier tried
False loves in plenty; oh! my cup of praise
Brims over, and I know I'll feel small sorrow,
Confess no sins and make no weak delays
If death ends all and I must die to-morrow."
But on the firestep, waiting to attack,
He cursed, prayed, sweated, wished the proud words back.
THE DEAD FOX HUNTER
We found the little captain at the head;
His men lay well aligned.
We touched his hand--stone-cold--and he was dead,
And they, all dead behind,
Had never reached their goal, but they died well;
They charged in line, and in the same line fell.
The well-known rosy colours of his face
Were almost lost in grey.
We saw that, dying and in hopeless case,
For others' sake that day
He'd smothered all rebellious groans: in death
His fingers were tight clenched between his teeth.
For those who live uprightly and die true
Heaven has no bars or locks,
And serves all taste.... Or what's for him to do
Up there, but hunt the fox?
Angelic choirs? No, Justice must provide
For one who rode straight and at hunting died.
So if Heaven had no Hunt before he came,
Why, it must find one now:
If any shirk and doubt they know the game,
There's one to teach them how:
And the whole host of Seraphim complete
Must jog in scarlet to his opening Meet.
IT'S A QUEER TIME
It's hard to know if you're alive or dead
When steel and fire go roaring through your head.
One moment you'll be crouching at your gun
Traversing, mowing heaps down half in fun:
The next, you choke and clutch at your right breast
No time to think--leave all--and off you go ...
To Treasure Island where the Spice winds blow,
To lovely groves of mango, quince and lime--
Breathe no goodbye, but ho, for the Red West!
It's a queer time.
You're charging madly at them yelling "Fag!"
When somehow something gives and your feet drag.
You fall and strike your head; yet feel no pain
And find ... you're digging tunnels through the hay
In the Big Barn, 'cause it's a rainy day.
Oh springy hay, and lovely beams to climb!
You're back in the old sailor suit again.
It's a queer time.
Or you'll be dozing safe in your dug-out--
A great roar--the trench shakes and falls about--
You're struggling, gasping, struggling, then ... hullo!
Elsie comes tripping gaily down the trench,
Hanky to nose--that lyddite makes a stench--
Getting her pinafore all over grime.
Funny! because she died ten years ago!
It's a queer time.
The trouble is, things happen much too quick;
Up jump the Bosches, rifles thump and click,
You stagger, and the whole scene fades away:
Even good Christians don't like passing straight
From Tipperary or their Hymn of Hate
To Alleluiah-chanting, and the chime
Of golden harps ... and ... I'm not well to-day ...
It's a queer time.
1915
I've watched the Seasons passing slow, so slow
In the fields between La Bassée and Bethune;
Primroses and the first warm day of Spring,
Red poppy floods of June,
August, and yellowing Autumn, so
To Winter nights knee-deep in mud or snow,
And you've been everything,
Dear, you've been everything that I most lack
In these soul-deadening trenches--pictures, books,
Music, the quiet of an English wood,
Beautiful comrade-looks,
The narrow, bouldered mountain-track,
The broad, full-bosomed ocean, green and black,
And Peace, and all that's good.
OVER THE BRAZIER
What life to lead and where to go
After the War, after the War?
We'd often talked this way before
But I still see the brazier glow
That April night, still feel the smoke
And stifling pungency of burning coke.
I'd thought: "A cottage in the hills,
North Wales, a cottage full of books,
Pictures and brass and cosy nooks
And comfortable broad window-sills,
Flowers in the garden, walls all white,
I'd live there peacefully, and dream and write."
But Willy said "No, Home's no good
Old England's quite a hopeless place
I've lost all feeling for my race:
But France has given me heart and blood
Enough to last me all my life
I'm off to Canada with my wee wife.
"Come with us, Mac, old thing," but Mac
Drawled: "No, a Coral Isle for me,
A warm green jewel in the South Sea.
There's merit in a lumber shack
And labour is a grand thing ... but
Give me my hot beach and my cocoanut."
So then we built and stocked for Willy
A log-hut, and for Mac a calm
Rockabye cradle on a palm--
Idyllic dwellings--but this silly
Mad War has now wrecked both, and what
Better hopes has my little cottage got?
July, 1915.
* * * * *
TRANSCRIBER'S NOTES
Minor punctuation and printer errors repaired.
Italic text is denoted by _underscores_ and small capitals by =plus
signs=.
End of the Project Gutenberg EBook of Over the Brazier, by Robert Graves
*** END OF THIS PROJECT GUTENBERG EBOOK OVER THE BRAZIER ***
***** This file should be named 47144-8.txt or 47144-8.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/4/7/1/4/47144/
Produced by MWS and the Online Distributed Proofreading
Team at http://www.pgdp.net (This file was produced from
images generously made available by The Internet
Archive/American Libraries.)
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License available with this file or online at
www.gutenberg.org/license.
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
1.E.2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation."
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1.F.3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation information page at www.gutenberg.org
Section 3. Information about the Project Gutenberg Literary Archive
Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at 809
North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email
contact links and up to date contact information can be found at the
Foundation's web site and official page at www.gutenberg.org/contact
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
[email protected]
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit www.gutenberg.org/donate
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit: www.gutenberg.org/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart was the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For forty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Most people start at our Web site which has the main PG search facility:
www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
